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Sent prepaid on receipt of price by 

WaUtt H. pafeer & Company 

Ko. 5 Hamilton Place, Boston, Massachusetts 



The Go-Between 

A Dramatic Comedy Playlet 



By 
HARRY L. NEWTON 

Author of "Vaudevillainiesr *'The College Chap, 
"A Call to Arms;' **The Two-Two Train," etc. 



BOSTON 

WALTER H. BAKER & CO, 

1917 



The Go-Betwecn 






CHARACTERS 



Hezekiah Quackenbush, a young farmer. 
Muriel Burlingham, a vampire. 
Jane Opendyke, a country girl. 

Time. — A September morning. 
Place. — The Quackenbush home. 



NOTE 

Hezekiah Quackenbush is in no way a burlesque rube type, but 
a young and legitimate farmer of to-day. He is awkward and 
slow in speech, with drawling Yankee dialect. For dress he wears 
an ill-fitting black suit, colored shirt, high white collar, large white 
tie and a large white flower in buttonhole. In short, he is gotten 
up regardless and considers he has done himself proud ; although 
others might find something to laugh at in his appearance, he is 
serious at all times. 

Muriel Burlingham is a woman of the world ; smart in speech 
and manner. Wears traveling costume, consisting of long auto- 
mobile coat, auto bonnet and veil. She is cold and calculating — 
a vampire. 

Jane Opendyke is a striking contrast to Muriel, as she is a simple 
country maiden, wearing a plain white dress, with hair worn 
loosely down the back. She is warm-hearted and impulsive and 
very much in love with Hezekiah. 




Copyright, 1917. by Walter H. Baker & Co. 
Professional stage and movi7ig picfttre rights reserved^]/ "tJ*^ 



©cm 4802s> ^0 r" 
OCT -9 1917 



The Go -Between 



SCENE. — Living-room in the Quackenbush farmhouse. 
Box setting with doors r., l. and c. Over c. door are 
hung heavy curtains, opening on porch, hacked by 
meadow drop. Furniture is old fashioned, with busi- 
ness desk and swivel chair down r. of c. On desk are 
a miscellaneous lot of papers, hills, letters, etc., a large 
check hook and a revolver. At l. is a small table, con- 
taining magazines ; small chair at r. of table. 

{At rise, enter Hezekiah Quackenbush, l. He 
zvears a silk hat tzvo sizes too small, and carries a 
straw suit-case. He comes in in a cautious manner, 
and glances nervously all about him. He goes to 
desk and sets suit-case on floor beside it. As he 
sets suit-case down his hat falls off.) 

Hez. {peevishly picking up hat and slamming it hack 
on head). Drat that hat. It don't seem to be a good fit 
for me. {Glances about.) Glad there ain't nobody 
home. {Sits in desk chair.) Great idea of mine to send 
mother and sister down to the village this morning. 
Then I dressed up to — to run away and get married. 
Gosh, but I'm a happy man to-day. Going to get mar- 
ried to Muriel, the greatest gal in all -creation. Happy? 
I should say! {His eyes fall on the papers on desk; he 
picks up several and sorts them over quickly, while his 
manner changes from gay to grave.) Hum! These 
here bills kind of worry me. Bills that ain't paid, and 
nothing left to pay them. {Throws them back; manner 
changes to care-free one.) But, shucks, I ain't goin' to 
worry 'bout them, or 'bout nothin'. Just goin' to marry 

3 



4 THE GO-BETWEEN 

Muriel — that's all. {Enter Muriel Burlingham from L. 
She carries a small traveling hag. She stops abruptly 
as she discovers Hez., makes as if about to speak to him, 
then changes her mind and begins a cavitious walk toward 
c. D. When almost there, Hez. hears her and swings 
about in chair, facing her.) Muriel! 

MuR. {facing him, coldly). Well? 

Hez. {rising, goes to her, takes- bag from her, sets it on 
chair by door, then looks her over admiringly). My 
darlin', say, but you do look just fine. How do I look? 

{Turns slowly about for her inspection.) 

Mvsi. {aside). He looks like a merry-go-round. {To 
him. ) Gracious, what a make-up ! 

Hez. {anxiously). Don't you think I'll do? 
MuR. You'll do all right. 

{Laughs coldly; comes down to small table and picks 
up a magazine.) 

Hez. {following her, bending tenderly over her 
shoulder). Are you— are you all ready? 

MuR. {apparently failing to comprehend him). I? 
Ready? Ready for what? 

{Toys nervously with magazine.) 

Hez. {falling back a step in surprise). Why — why — 
to — to elope. 

MuR. {in apparent surprise). I? Elope? And with 
whom, pray? 

Hez. {astounded) . With — with me, you know. I — 
that is, you and I had an understanding. You 
promised 

MuR. {she interrupts his speech by coldly surveying 
him from head to foot, breaking into a mocking laugh). 
Hezekiah Quackenbush ! You are all wrong this morn- 
ing; you look it and you talk it. 

Hez. {recoiling in astonishment ; then suddenly break- 
ing into a hearty laugh). I see. It's some kind, of a 
joke. You're just tryin' me out. 

MuR. {aside). Oh, why didn't I make my escape 
before this yokel saw me? {To him.) Hezekiah 



THE GO-BETWEEN 5 

Quackenbush, we may as well have this over with as 
quickly as possible. I am not going to elope with any- 
thing quite as impossible as you. Do I make that clear ? 

Hkz. (pause, staring stupidly at her, then brightly). 
Shucks, I see. You've changed your mind 'bout eloping, 
and will marry me here, in the house, eh? 

MuR. {laughing coldly). All wrong again. Me 
marry you? Hezekiah Quackenbush? Me tie myself 
to a name like that? Nothing at all like that, my dear 
man. {Laughs scornfully.) Mrs. Hezekiah Quacken- 
bush ! Oh, gracious ! 

Hez. {leaning heavily on hack of chair and staring in 
mingled' astonishment and horror at her). Muriel! 
Good Lord \ Don't look like that — you — you can't mean 
what you say ! 

MuR. {coldly). There, there; please don't get dra- 
matic. This is getting on my nerves. I 

Hez. {interrupting, fiercely). After all your promises 
— your confessions of love for me — you tell me I am 
ridiculous — make fun of my honest name 

MuR. {turning from him and starting for c. d.). It 
is enough that I have changed my mind. The machine 
is waiting to take me to my train. I must 

Hez. {seizing her roughly by a wrist as she starts for 
door and forcing her backward into a chair). By the 
great Jehoshaphat, gal, you must listen to me ! 

MuR. {releasing her wrist by an effort, and rubbing it 
to relieve the pain). Oh! You hurt! 

Hez. {tenderly). Oh, I didn't mean to do that, dear — 
forgive me. Sit quiet a moment. {Sternly.) Now 
then, we will have a little understanding, if you please. 

MuR. Very good. You shall have all the understand- 
ing you wish. Look at me, look closely. {He peers into 
her face.) Do I size up like the sort of a girl who 
would be content to be the wife of a farmer? Do I? 

{She returns his stare.) 

Hez. {tersely). You — said — you — would — be — my 
—wife ! 

MuR. {snapping her fingers in his face). That for 

what I said. . . . You had money when I promised 



O THE GO-BETWEEN 

that. Now — now what have you? Absolutely nothing. 
No money; in debt and with your farm mortgaged for 
almost its actual value. 

Hez. (recoiling from her in horror). You taunt me 
now because everything is gone? You! You, the one 
who led me on, step by step, until you bled me of every 
dollar I had 

MuR. There, there, don't get so dramatic. What's a 
few dollars more or less? Why, Hezekiah, you're a 
piker! You might really lose something some day that 
is of some real value. Money ? Bah ! 

Hez. {tenderly). It ain't the money, gal; it ain't the 
money. It's — it's just you. 

{Drops wearily into desk chair.) ' 

MuR. {laughing mockingly). You're a fool ! {Quotes.) 
"A fool there was ! " His name, the fool, was Hezekiah 
Quackenbush. And then there came a woman one day — 
Muriel Burlingham. She was " the vampire." {He 
shudders.) Muriel was a former school chum of your 
sister Mary. Muriel was as innocent then as — your 
sister. But a few years make a vast difference, don't 
they? Muriel had the bitter misfortune to fall in love 
with — the wrong man. 

Hez. {turning suddenly toward her). You 

MuR. {quickly). Oh, we were married all right. My 
husband was a gambler. A crook. And I — I helped 
him. I had to. And I stuck to him through everything. 
It was a case of riches one day and abject poverty the 
next. We roamed from city to city, evil birds of prey, 
seeking our victims. {He makes as though to stop her.) 
Oh, I know it isn't a pleasant story, but I shall feel the 
better for the telling of it. Listen. This is the part that 
vitally concerns you. Last June we landed in New York 
without a dollar. The police had been complained to, 
and our " trade " was — well, we were not anxious to go 
to " stir." New York became too hot to hold us, and I 
looked about for a cooler spot — and a safer one, until 
our troubles blew over. Then I had an inspiration. I 
thought of your sister, and wrote her, and 



THE GO-BETWEEN ' 7 

Hez. (bitterly). And this is the way you have repaid 
her hospitahty ! 

MuR. Hospitahty? {Laughs bitterly.) My hfe is 
wrecked; why should I care for others? (Rises.) I 
have done my duty to the being who calls himself my 
husband. A woman always does her duty — and bears 
the blame. I'm going now. Going back to him. (At 
c. D., picks up her bag.) The vampire has done here. 
You gave it to me — and I give it to him. Good-bye, 
Hezekiah Quackenbush. Good-bye, and may the Lord 
have mercy on us both. 



(With a half sob and a laugh she parts the curtains 
stands looking at him for an instant, then suddenly 
darts through curtains.) 

Hez. (sitting in dazed manner for an instant, then 
swinging slowly about in chair, facing door; he finally 
realizes that she has gone, and springs to his feet and 
dashes to door, parts curtains and looks after her). 
Muriel ! Good Lord, gal ! (Sound of auto horn is heard. 
He turns slowly, comes back to desk and sinks wearily 
into chair. He slowly draws flozver from buttonhole, 
crushes it in hand and flings it on floor. Removes neck- 
tie, crushes it and throzvs it on floor; takes off hat and 
also throws that on floor. Turns to desk, picks up papers 
in mechanical manner, one after the other and lays them 
dozvn again; picks up check book, skims over the pages 
and lets it fall heavily on desk. ) Gone — all gone ! Love ! 
Honor! Money! Everything! (His eyes slowly light 
on the revolver and slowly his right hand moves toward 
it in a fascinated manner and he picks it up.) "A fool 
there was ! " And this is his end. . One pull on the 
trigger and there will be one fool less in the world. It's 
the only way. Good-bye, mother, sister — yes, good-bye, 
Muriel ! and the Lord have mercy on us both ! 

(He places muzzle of revolver to his head, spotlight 
is thrown on him, then Jane Opendyke's voice is 
heard off R. ''Mrs. Quackenbush, Mary! Where 
are youf" Hez. slowly lets arm fall and revolver 



8 THE GO-BETWEEN 

di'ops on desk. He sits dazed and siaring fixedly 
in front of him.) 

Enter Jane, r. She carries a hunch of flowers. 

Jane {calling expectantly). Mary — Mrs. Quacken- 
bush — where are you? {Discovers him.) Oh, how-de- 
do, Hezekiah ! 

Hez. {without shifting his attitude). Well! What 
do you want ? 

Jane {not noticing his surly tone; cheerily). Well, I 
declare. That's a fine reception. . . , Where's 
everybody ? 

Hez. {despondently). Gone — all gone! Everybody, 
everything's gone. 

Jane {at small table, laying flozvers on it, then glanc- 
ing curiously at him). Why, what seems to be the mat- 
ter, Hezekiah? You speak so solemn-like. Where's 
your mother and sister, and Miss 

Hez. {sidkily). They're gone, L tell you. 

Jane {smilingly). Shucks alive, you needn't eat me 
up. ( Toys with flowers. ) I picked these flowers a few 
minutes ago, and I thought Maw Quackenbush would 

kinder like 'em. . . . But '^{Turns as if to go, 

then stops and looks curiously at him. Aside.) Now I 
wonder what's the matter with him. I'm a-going for to 
find out. {Returns to table and picks up one of the 
flozver stems.) Your maw and sister well* Hezekiah? 

Hez. {shortly). Yes. 

Jane. Gone to one of the neighbors maybe? 

Hez. No. {Impatient shrug of shoidders.) 

Jane {drawlingly) . O-oh ! . . . {Pause.) Then 
they didn't go to one of the neighbors? 

Hez. {very shortly). No — they didn't. 

Jane {very drawlingly). O-oh ! Maybe they went to 
town then? 

Hez. No, they didn't — yes, they did too. {Groans.) 
Oh, let me alone. 

Jane. Say, I ain't a-touchin' you. . . . {Pause.) 
Miss Burlingham go with them? 

Hez. {half rising from seat; angrily). It's — it's none 
of your blamed business — no, she didn't. 



THE GO-BETWEEN 9 

Jane {with flower to face and peeking roguishly 
over top at him). O-oh ! . . . {Pause.) Say, you 
seem to be all slicked up this morning. Expectin' com- 
pany maybe ? 

Hez. {groaning). K\n, shut up; don't rub it in. 

Jane {with deep sympathy). Oh, I know; you're 
sick — that's what's the matter maybe. Maybe I can do 
somethin' for you, Hezekiah? 

Hez. {despondently). No — nobody can do nothin* 
for me. {Sighs heavily.) 

Jane. Oh — oh ! {Suddenly discovers crushed flower 
on floor, also his necktie; gazes curiously at him.) May- 
be you got the toothache. I had the toothache once, 
right in the tooth, and it sure did hurt. 

Hez. {facing her for the first time). See here, Jane 
Opendyke, you're meddlin' in things that don't concern 
you. 

Jane {drawlingly) . O-oh! . . . Then you ain't 
got a toothache? Maybe it's your stomach. A good 
dose of ginger'll fix that. Wait. I'll run down and mix 
you one. 

Hez. Ginger won't do me no good. Nothin' will. 
And I don't want any thin' but — you just go away and 
leave me alone. 

Jane. O-oh ! {Picks up necktie and flower from 
floor and lays them gently on desk; he gives a quick start 
at sight of them; she takes position hack of his chair, 
draws his head hack and gently strokes his hair.) 
Hezekiah Ouackenbush, did anybody ever tell you that 
you was a fool? 

Hez. {slozvly straightening up in chair, and then the 
shot suddenly dawns on him and he springs angrily to 
his feet and confronts her) . So ! You know all about 
it, eh ? You been a-spyin' on me, eh ? 

Jane {calmly forcing him hack in his chair; gently). 
No, Hezekiah ; I ain't been a-spyin' on you. . . . But 
I been doin' quite a bit of thinkin', and — there, there; 
anybody's got a license to think . . . and most every- 
body's got the same amount of license to talk. {She 
strokes his hair.) You know, Hezekiah, folks can learn 
a lot of things and don't have to spy nuther. Some folks 



10 THE GO-BETWEEN 

can put two and two together and make four every time. 
{Indicates necktie and flower on desk.) But if two and 
two does make four, a white necktie and a flower don't 
always make a wedding. {He attempts to draw away 
from her hut she gently pulls him hack; a little more 
sternly. ) You behave and hsten to me, Hezekiah Quack- 
enbush ! There was a time, Hezekiah, when you used to 
tell me all your troubles — and I told you mine. And 
there was something else we told each other once, but 
that was before that — that woman came. Ever since she 
came things have been a whole lot different. {He 
attempts protest.) Oh, I could see it, and so could any- 
body with their eyes shut. . . . Folks all thought at 
one time that you and me was going to— to get married. 
You seemed to think quite a lot of me, and I — I — well, 
I liked you some too. But she came 

Hez. {roughly jerking loose). Stop! Don't speak 
her name. I {Sinks wearily hack.) 

Jane. O-oh! {Smiles knowingly.) 

Hez. Things are some worse than a girl like you can 
ever dream of. I was a fool, and now — now I'm a 
ruined- man! 

Jane {recoiling in surprise). Ruined? 

Hez. Yes, absolutely. {Laughs hitterly.) Ain't got 
a dollar; in debt up to my ears, and — and the farm is 
mortgaged. 

Jane. O-oh! {Hangs head.) 

Hez. Understand me, I ain't layin' no blame on her. 

She thought she Oh, what's the use? Everything's 

gone, and she's gone. {Suddenly.) But there's one way 
out of it all. Just one way.. {Seizes revolver.) 

Jane {grahhing his arm). No, no, Hezekiah — not 
that. You mustn't do that. I still got a whole barrel of 
faith in you. Listen. And I got some money, too. You 
can have every dollar I got and welcome. It's my 
mone}^ — money I've saved from my chickens. It's all 
yours — every cent of it, Hezekiah — every cent. 

Hez. {with a mirthless laugh). How much money -you 
got? 

■Jane {proudly). Eighteen dollars and sixty cents. 

Hez. {with another laugh). Why, gal, eighteen dol- 



THE GO-BETWEEN II 

lars and sixty cents wouldn't be a drop in the bucket. 
. , . But I thank you, just the same — thank you just 
the same, dearie. (Weakly.) I — I — don't seem to 
feel (Puts a hand to his head,) 

Jane (bending over him anxiously). Hezekiah, dear, 
what's the matter? 

Hez. (sinking hack in chair, both hands to head). 
It's my — my head. It's all jumbled up inside. I — I 
can't think. I just seem to 

Jane (che erf idly). I'll fix that. Men are the most 
helpless animals in all creation. (Gets sofa pillow, places 
it under his head on back of chair, lays his head back 
against it, gets a chair, draws it up and places his feet 
on it.) There! Now you just be a good boy and stay 
like that for a jiffy while I run into the kitchen and make 
you a strong cup of tea, or something. (Runs to door 
L., turns.) Now don't you move an inch. I won't be 
a minute. [Exit, l. 

Hez. (remaining perfectly quiet for an instant, then 
cautiously moving his head and looking at door, then 
slowly putting his feet to floor and straightening up in 
chair, shaking head in despondent manner). No. No, 
it ain't no use. It's too late now for a cup of tea. Bless 
her innocent heart ! (Places a hand to head and groans.) 
Ooo ! My head ! How it does jump. . . . (Pause; 
then he again gazes in cautious manner all about room, 
then his eyes light on revolver; his right hand seeks the 
butt and he finally grasps it. Quickly, and springing to 
feet.) Now is my chance! "A fool there was," eh? 
I won't be here to have 'em call me that. (Raises gun 
to head, then slowly his arm falls and he shakes head.) 
No. No, not in here. Out there with the blue sky over 
me, and the trees and the — big outdoors. (One hand to 
head. ) My God, how my head hurts ! 

(Staggers weakly to c. d. and through curtains.) 

Enter Jane, carrying tray, pot of tea and cup and saucer. 

Jane (not appearing to notice his absence). Now 
here we are, Hezekiah ; this will sure 

(Pier further speech is abruptly checked by the dis- 



12 THE GO-BETWEEN 

charge of a revolver off c, and she drops tray to 
floor with a crash. She stands transfixed, staring 
fascinated at center door curtains, with one hand 
on heart and swaying unsteadily on feet. Finally 
throws a quick, startled glance about room, starts to 
come down to desk, then slowly turns and begins a 
slow, uncertain, staggering walk toward center door. 
A strong light is now thrown on the curtains and a 
puff of smoke is wafted through them; she stops in 
tense attitude, with gaze fixed on smoke. At last, 
by a supreme effort, she pidls herself together; she 
makes a sudden rush and throws curtains apart. 
Hez. steps forth, revolver in hand and with broad 
smiling face.) 

Hez. {cheerily). Say, gal, you know I just shot the 
darndest, biggest hen-hawk you ever seen 

Jane {confusedly, hand on heart). Why, I — I — 
thought you had — you were dead 

Hez. Yes, I know . . . but ... I changed 
my mind. . . . {Holds out his arms.) Come here, 
gal, goldern ye ! 

{She falls into his arms with her drawling " 0-oh!" 
They move down stage, front of desk, and stand with 
arms clasped about each other. MuR. enters from 
R., with small bag. She is about to exit c. d. when 
she discovers them in each other's arms. Softly she 
tiptoes down, places bag on desk, then with a con- 
vulsive sob and with handkerchief to eyes, exits 
c. D., to) 



CURTAIN 



TEDDY, OR, THE RUNAWAYS 

A Comedy in Three Acts 

By Walter Ben Hare 

[Originally produced at the Waldorf-Astoria, New York City t 

February i6, jgi2.) 
Four males, four females. Scenery, a single interior ; costumes, mod« 
ern. Plays two and a quarter hours. An eloping couple take refuge with 
the Junipers when their auto breaks down. The lady explains that they 
are being pursued by her brothers, so when a sheriff and posse arrive in 
pursuit of two thieves, Mrs. Juniper locks them down cellar to let the 
lovers escape. The sheriff gets out and arrests the Junipers whom he 
accuses of being the thieves. It finally appears that the lady is an author- 
ess and that she and her husband are posing as thieves in order to get ma- 
terial for a novel. Full of action ; characters all good ; lots of comedy ; 
strongly recommended. 

Price, 2^ cents 

CHARACTERS 
Jean MacLean, Little Miss FixiU 
Mrs. Juniper, a Young Wife. 
Victoria, the Girl in the Taxi. 
Texana, the Girl of the Golden West, 
Max Juniper, the Perplexed Husband, 
Alonzo Willing, the Fortune Hunter, 
Ted Keegan, the Man on the Box. 
Sheriff Jim Larrabee, Officer 666, 
Two Deputy Sheriff's 

SYNOPSIS 
Act I. — Living room at Max Jumper's house on a Texas ranch. 
Spring time. 
Act II. — Same as Act I. The great diamond robbery. 
Act III.— Same as Acts I and II. The thunderbolt. 



WANTED— A PITCHER 

A Farce in One Act 

By M. N. Beebe 
Eleven males. Scenery not important ; costumes, modern. Plays half an 
hour. Hank Devi^berry, the crack pitcher of the home nine, is kept from 
the championship game by his skinflint father who M^antshim to do the hay- 
ing. Hank's friends try to find a substitute pitcher, with humorous but 
unsatisfactory results. The elder Dewberry finally releases Hank when 
one of the players shows him how to win the county championship at 
checkers, on which he sets his heart. Hebrew, Irish, Italian and " hay 
Beed " comedy character parts. Recommended. 
Price^ i^ cents 



THE VOICE OF AUTHORITY 

A Farce in Three Acts 
For Female Characters Only 
By Bertha Currier Porter 
Seven females. Costumes, modern ; scenery, a plain interior. Plays 
two hours. Seven girls go camping all by themselves so as to have no 
nien bothering around. After a week of it they decide to send for their 
brothers and fiances, but they have no sooner done so than they are noti- 
fied that their camp has been quarantined by the authorities because one of 
them the day before has been seen holding a baby that has the scarlet 
fever. The men arrive, but are not allowed to enter, and the girls can- 
not come out. Trouble follows, ended by the discovery that the baby did 
not have scarlet fever after all. Full of life and laughs ; strongly recom- 
mended. 

Price, 2^ cents 

CHARACTERS 
Jean Campbell, the stenographer, engaged to Bert. 
Priscilla Carter, the newspaper woman, engaged to Ralph, 
Martha Stearns, the cooking teacher, engaged to Max, 
Gladys Cushing, the butterfly, engaged to Charlie. 
Margery Whiting, the bride-to-be, engaged to Billy. 
Elizabeth Kennedy, ijidependent, not engaged at all. 
Dr. E. T. Simpson, the physician. 
And 
The Voice of Authority, unseen but all-powerful. 

THE COMING OF ANNABEL 

A Comedy in One Act 
By Alice C. Thompson 
Six females. Costumes, modern ; scene, an interior. Plays thirty 
minutes. A group of village gossips, bent on the slaughter of the char- 
acter of a visitor to the town, are routed and reformed by the example of 
Annabel's charity and amiability. Good character. Clever and effective. 
Price, 15 cents 

THE MISSES PRINGLES' LEAP YEAR 

A Comedy in Two Acts 
By Amaryllis V. Lord 
Ten females and the apparition of a man. Costumes, modern ; scenery, 
unimportant. Plays half an hour. The Misses Barbara, Priscilla and 
Betsy Pringle, while scorning matrimony in public, have a secret inclina- 
tion = toward it, and taking advantage of leap year, each, without the 
knowledge of the others, proposes by letter to Deacon Smith with sur- 
prising results. Very easy and amusing, requiring no scenery and but 
little rehear^'ing. 

Price, 7j cetiti 



CRANBERRY CORNERS 

A Comedy Drama in Four Acts 

By Arthur Lewis Tubbs 

Six males, six females. Scenery, one exterior, one interior; costumeSj' 
modern. Plays two and a quarter hours. Carlotta, a city girl, is forced 
by lier fashionable aunt to give up her country lover and promise to marry 
a wealthy scoundrel who controls the aunt through her past. Tom, the 
rustic lover, discovers Carlotta's father in a tramp, clears his name, baffles 
the aunt and frustrates her plot. Dramatic and full of interest ; strongly 
recommended. Lots of incidental comedy. 
Price, 2^ cents 



CHARACTERS 

Tom Dexter, 07ie of Nature s noblemen. 
Sidney Everett, of the world worldly, 
Ben Latham, a wanderer. 
Andrew Dexter, Tom s father. 
Hezekiah Wo^YA^'i,, fond of an argument, 
Nathan Speck, the hired ?nan. 
Carlotta Bannister, a child of fate. 

Anastasia Bannister, her " stylish " aunt, from New York. 
Amelia Dexter, sister of Andrew. 

Mrs. Muslin, something of a talker, " as you might say.'* 
Bella Ann, help at the farm. 
'Florine, a maid. 

SYNOPSIS 

Act L— The yard at Ferndale Farm, Cranberry Corners, on 
an afternoon in July. The telegram. 

Act IL — Same as Act I, about a week later. The stranger. 

Act in. — Residence of Mrs. Bannister, New York City. Three 
months have elapsed. In the hands of fate. 

Act IV. — Back at the farm, two weeks later. The silver lining. 



VEAL BREADED 

A Comedy in One Act 

By John M. Francis 

Three males, three females. Costumes, modern ; scene, an interior. 
Plays thirty-five minutes. Mr. and Mrs. Armstrong have married one 
another, both hating veal, but each under a fixed impression that the other 
likes it. One of the results of a little flirtation of their friend Joyce with 
Mrs. A.'s pretty aunt is that the truth comes out and the hated meat is no 
longer the cause of trouble between them. Very original and amusing 
and strongly recommended. French dialect comedy character. 
Fricef 75 cents 



THE BOY SCOUTS 

A Play for Boys in Three Acts 

By Walter Ben Hare 

Twenty males. Scenery, unimportant; costumes, scout and modera 
Plays two hours. Worth refuses to vote for Tony as a new scout because 
the latter is poor, but Tony shows in the end that he is a true scout and 
wins his election. This simple motive underlies lots of characteristic fun 
and stunts, and offers as a whole a very vigorous and sympathetic picture 
of the Boy Scout practices, motives, and ideals. Strongly recommended. 
Price, 2^ cents 

CHARACTERS 

Stewart Nipper, known as Nip. 

Fred Tuck, known as Tuck. 

Dick Randolph, the patrol leader. 

WoRTHiNGTON LEONARD, a rich boy. 

Tony Ardis, a poor boy. 

Jakie Stein, with business instincts. 

Chubby Childs, who don't care if he is fat. 

Watermelon Jackson, a lazy coon. 

Mrs. Watermelon Jackson, and her seven little coons, (May b4 

omitted. ) 
LiPPY Scudder, who thinks he's a hero. 
Bub Waldron, going on seven. \ 

Jack Hall, assistant patrol leader. 
Plupy Higgins, who likes to study. 
Lee Waldron, wme athlete. 
Tom Redway, who plays the piano. 
Shorty, Harry, Charley, Will and Frank, other Boy Scouts, 

SYNOPSIS 

Act L — The meeting of the Boy Scouts of America. Nip and 
Tuck. 
Act n.-^A rehearsal in the gym. The stunts of the Scouts. 
Act HL—Same as Act L Swearing in the new tenderfoot. 



AUNT ABIGAIL AND THE BOYS 

A Farce in One Act 

By Lillie Fuller Merriam 

Nine males, two females. Scene, an interior ; costumes, modern. 
Plays one hour. Aunt Abigail, who hates boys, visits Gerald in college 
and finding him dressed in female costume for theatricals takes hhn for 
his sister Geraldine. Things are badly mixed up when his friends turn 
up and see the situation, but in the end Aunty is wholly cured of her 
dislike for the « boys." Lively and amusing ; recommended for schooisc 
Price, IS cents 



JI* m. Pinero's Plays 

Price, SO erita Cacb 



MID-CHANNEI ^^""I "' ^^^^ 4^*^- six males, five females. 
«*iiy\^ii/iLiiiit.L. Costumes, modern; scenery, three interiors. 
Plays two and a half hours. 

THE NOTORIOUS MRS. EBBSMITH g^f^'li^TJ 

males, five females. Costumes, modern; scenery, all interiors. 
Plays a full evening. 

THE PROFLICATF f^^^ ^^ ^°^^ ^«*s. seven males, five 
, K f *^^*^*-*^^i*^ females. Scenery, three interiors, rather 
elaborate ; costumes, modern. Plays a full eveoing. 

THE SCHOOLMISTRESS Farce in Three Acts. Nine males, 
lilt. OV.llV/UL.lTUOH\E.Oi5 seven females. Costumes, mod- 
ern ; scenery, three interiors. Plays a full evening. 

THE SECOND MRS. TANQUERAY ^^rl'£^^- 

females. Costumes, modern; scenery, three interiors. Plavs a 
full evening. "jo « 

SWEET LAVENDER Comedyln Three Acts. Seven males, 
011L.L.I L.AYi:.l^U£.a four females. Scene, a single interior 
costumes, modern. Plays a full evening. 

THE THUNDERROf T Comedy in Four Acts. Ten males, 
lilt. lllunLr£.IVDUL.l nine females. Scenerv. three interil 



ors ; costumes, modern. Plays a full evening. 



Scenery, three interi- 



a full evening. 



costumes, modern. Plays 



THE WEAKER SEX comedy iu Three Acts. Eight males, 
ini:. TT£.AIVE.a OE.A eight females. Costumes? modern 
scenery, two interiors. Plays a full evening. 

A WIFE WITHOUT A SMILE greas,,Z'g/afe1: 

Costumes, modern ; scene, a single interior. Plays a full evening. 



Sent prepaid on receipt of price by 

Walttv H. J^afeer Sc Company 

NOo 5 Hamilton Place, Boston , Massachusetts 



THE TIMES Comedy in Four Acts. Six males, seven females 
iiiL. lllTlLia Scene. a Single interior; 



:^r£: 



LIBRftRY OF CONGRESS 




017 401 130 8 



Cf)e William Wwcxtn CUttton 
of Pa^fi 



A^ Vnil I IITP IT Comedy in Fire Acts. Thirteen males, four 
AD IvU IrlAL 11 females. Costumes, picturesque j scenery, va- 
ried. Plays a full evening. 

f* A MIT IF Drama in Five Acts. Nine males, five females. Cos- 
vAl!iU<L<l4 tumes, modern ; scenery, varied. Plays a full evening. 

ENtfiOMAtt I'la-y ^^ Five Acts. Thirteen males, three females. 
inUUiuiilx Scenery varied ; costumes, Greek. Plays a full evening. 

M APV ^TIIADT Tragedy in Five Acts. Thirteen males, four fe- 
UlAI\i iJlLIAnl males, and supernumeraries. Costumes, of the 
period ; scenery, varied and elaborate. Plays a full evening. 

THE MERCHANT OF VENICE SsretL'^efCiJll: SS^ 

picturesque ; scenery varied. Plays a full evening. 

RICHFT IFII ^^y ^° Five Acts. Fifteen males, two females. Scen- 



erenlng. 



ery elaborate ; costumes of the period. Plays a full 



THF RIVAT ^ Comedy in Five Acts. Nine males, five females. 
AliL lUTilLriJ Scenery varied; costumes of the period. Plays a 
tall evening. 

SHE STOOPS TO CONQUER SS'sl^CSiet'^lcenfe 

ried ; costumes of the period. Plays a full evening. 

TWELFTH NIfiHT; OR, WHAT YOU WJLL ?er.^/,^"„Sr. 

three females. Costumes, picturesque ; scenery, varied. Plays a 
full evening. 



Sent prepaid on receipt of price by 

l^alter ^, 'Bafier & Company 

Ho. 5 Hamilton Place, Boston, Massachusetts 

• . J. PARKHILL a CO., PRINTERS, BOSTON. U.S.A. 



